标题: 1947.11 雷诺阿的画作/陶米埃 [打印本页] 作者: shiyi18 时间: 2022-6-9 20:55 标题: 1947.11 雷诺阿的画作/陶米埃 Renoir Drawings/Daumier
By Mackinley Helm
NOVEMBER 1947 ISSUE
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$15.00
John RewaldBITTNER
$7.50
Jacques LassaigneHYPERION; CROWN
Two art publishers have lately released, as though for the purpose of convenient comparison, a volume of drawings by an artist better known for his paintings and another of paintings by a genius at drawing. Renoir Drawings contains 89 reproductions of drawings in various media—pencil, ink, charcoal, crayon, wash, sanguine, pastel — by Pierre-Auguste Renoir, a painter who lived in a rapturous state of excitement over the rapid mutations of light and color in nature.Daumier, an American reprint of a nine-year-old Paris edition, reproduces around 130 paintings by the great republican moralist whose 4000 black and white lithographs monitored French manners and politics from the July Monarchy to the Siege of Paris. Both volumes were planned with good reason.
As John Rewald explains, in a brief preface extracted from his richly detailed History of Impressionism, Renoir infrequently worked with pen and pencil until, in his early forties, he had labored through the impressionist theory that line appears nowhere in nature. When he began to recognize the existence of classical contours beneath light and color, he went in for drawing. Most of the drawings made from 1883 onward, after a period of intensified study of Ingres and Ingres’s master, the Renaissance Raphael, are sketches for (sometimes from) the paintings of Renoir’s post-impressionist period: of bathers, dancers, laundresses, women with children - especially of his infant son Jean, now a movie director, and the maid Gabrielle. Of the finished drawings, some were illustrations for stories by Paul Lhote and Edmond Renoir, the artist’s brother. The superb pastel portrait of Paul Cézanne, dated 1880, was so well liked by the sitter that he attempted to copy it.
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It is unfortunate that the handsome stiff paper on which the Renoir drawings are printed rarely conveys an impression of textures. The reader enjoys no such sense of approximating the handling of original drawings as one gets, say, from the plates of old-master drawings published by the trustees of the British Museum in the eighties and nineties, when mechanical means were not so easy to come by. But it is always a pleasure, as in the List of Plates here assembled, to be in touch with John Rewald’s fastidious scholarship.
Honoré Daumier, on his side, began to paint late in life, as Jacques Lassaigne shows in the Hyperion volume, because he was busy, during the earlier years, earning a difficult living with his lithographic cartoons. However, an extraordinary thing about Daumier’s black and white prints, as Baudelaire noticed, was that they were full of suggestions of color. The man who was born with a gift for transcending the candid and insensitive stone likewise had an original genius for the use of oil color. He improvised his own color chords and made them convincing.
Standing alone in his time — unmoved, so far as one sees, by the pictorial forces existing around him — Daumier, as draftsman, had the sure instinct that G. B. S. has had as a dramatist: the instinct to work well within the proper manifestations of the comic spirit, thus saving the conscience of mankind from hurt. The same inborn taste showed him the way, in his paintings, to give permanence to the anecdotal subject matter of the daily drawings. The figures of the frequently repainted and incomplete pictures, lawyers, collectors, railway travelers, wine-shop patrons, all painted from memory, no longer illustrate Daumier’s acid and witty comments on daily events for the press. They stand for man’s changeless attitudes.
A new edition of the Hyperion Daumier would, of course, have been more desirable than this American reprint of the European edition. The bibliography takes no notice of such later appreciations of Daumier as the essays of Paul Valéry and Maurice Sachs. Furthermore, there has been some redisposition of paintings since 1938, and additional pictures in American bands have become available for reproduction on this side of the water. The color, identical with that of the French edition except for its bright, rosy glaze, scarcely suggests Daumier’s unique modulations — though Albert Skira and Pierre Tisné, both of Paris, have shown that Daumier’s subtle handling of color can still be represented with a high degree of fidelity.
MACKINLEY HELM
雷诺阿的画作/陶米埃
作者：Mackinley Helm
1947年11月号
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$15.00
John RewaldBITTNER
$7.50
Jacques LassaigneHYPERION; CROWN
两家艺术出版社最近推出了一册以绘画闻名的艺术家的素描作品和另一册绘画天才的绘画作品，似乎是为了方便比较。雷诺阿画集》包含89幅不同媒介的图画复制品--铅笔、墨水、木炭、蜡笔、水洗、红墨水、粉彩--由皮埃尔-奥古斯特-雷诺阿创作，这位画家对大自然中光线和色彩的快速变异保持着兴奋的状态。这两卷书的计划都是有充分理由的。